Straight-laced Rose breaks off relations with her party girl sister, Maggie, over an indiscretion involving Rose's boyfriend. The chilly atmosphere is broken with the arrival of Ella, the grandmother neither sister knew existed.
A British investment broker inherits his uncle's chateau and vineyard in Provence, where he spent much of his childhood. He discovers a new laid-back lifestyle as he tries to renovate the estate to be sold.
After Frances's seemingly happy San Francisco marriage ends abruptly, she goes into a funk. Urged by her friends to move on, she joins a bus tour of Tuscany where, on the spur of the moment, she buys a crumbling villa. She assembles a crew of oddballs and immigrants to repair the house; over the next year, as they work, she welcomes one of her San Francisco friends who's pregnant and at loose ends, and she seeks love, first (tenuously) with her married real estate agent, then with a charming stranger. Although life gets in the way of love, Frances's wishes come true in unexpected ways, and there's always the Tuscan sun. Written by
When Frances is calling Patti from the phone booth right before it rains, her hair changes from behind her ear/pulled back neatly to in front of her ear/slightly messy See more »
Signora, between Austria and Italy, there is a section of the Alps called the Semmering. It is an impossibly steep, very high part of the mountains. They built a train track over these Alps to connect Vienna and Venice. They built these tracks even before there was a train in existence that could make the trip. They built it because they knew some day, the train would come.
See more »
"Under the Tuscan Sun" is a polarizing film that seems to leave viewers (and critics) either in love with a story of growth and renewal or dismissive of its line. I'm firmly in the former camp.
Based so loosely on Frances Mayes's own account of her regeneration in beautiful Italy as to carry an end credit pronouncing that substantial fictionalization replaced key true details, writer and director Audrey Wells crafted a stunning vehicle for Diane Lane whose radiance projects from the screen powerfully. And in every scene.
Diane Lane, as the changed-from-the-memoir Frances, abandons San Francisco after her never shown cad husband divorces her, getting the house she once loved. Frances is a writer and literary critic. Why does she leave S.F.? Two of her closest friends give her a ticket for a gay bus tour of Italy and she jumps off the bus to look into a ramshackle old country house up for sale. Impetuosity? Definitely. Believable? Yes, actually.
Frances' new house isn't a handyman's special, it's a contractor's assurance of food on the table for a very long time. Frances adapts to the house and the locals with remarkable aplomb. Tuscany is sunny but its light fades before Frances's challenged but resilient commitment to not just restore a house but to create a home. The two aren't the same. I'm not sure how many male directors could so well create that reality.
Director Wells tells the story from a woman's heart but with a breadth of humor and drama that should appeal to anyone who wants to believe, or needs to hope, that there really is a light at the end of the tunnel of marital infidelity and dissolution.
Supporting Diane Lane is Sandra Oh as Patti, her closest friend. In relatively short scenes, Ms. Oh displays a lively and laconic grasp not only of her friend's life but also of her own which is not, as they say today, devoid of "issues."
Lindsay Duncan is Katharine, an older woman determined to hold on to her now fading attractiveness through a blend of humor, earthiness - and alcohol. Her character may be predictable but she's also fun.
Raoul Bova has garnered some press attention as handsome Marcello, the romantically available and affluent Italian. That's a character we've seen in many, many films and Bova delivers an expectedly satisfactory but hardly deep performance.
Yes, Diane Lane is beautiful but there is much more to her acting than a shining appearance. Her facial gestures, mirroring her emotions as they shift from moment to moment, are the product of extraordinary acting ability. And her character draws a powerful portrayal.
Credit also must go to cinematographer Geoffrey Simpson. Perhaps it would be impossible for a blind camera director to turn in anything but a gorgeous visage of rural and urban Italy but Simpson did do a marvelous job of making the locales come alive.
This is a film for adults, for people who can understand pain and the search for recovery and understand the difficulty of coming back from a space that once offered the mirage of safety and security.
I loved this film.
107 of 133 people found this review helpful.
Was this review helpful to you?